{"data":[{"id":70,"slug":"ufda-and-borshchiv-museum-of-local-history-partner-to-preserve-ukrainian-art","status":"published","header":"UFDA and Borshchiv Regional Municipal Museum of Local History Partner to Preserve Ukrainian Art","content":{"time":1769587902530,"blocks":[{"id":"DZtnAJLqNS","type":"paragraph","data":{"text":"UFDA is proud to announce its partnership with the Borshchiv Regional Municipal Museum of Local History to digitize a significant portion of the museum’s collection."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"TCY3HMmisc","type":"paragraph","data":{"text":"For years, the museum has been a dedicated custodian of Ternopil Oblast’s and Ukraine’s rich cultural and historical heritage, preserving artifacts that span centuries of Ukrainian history.. This collaboration marks an exciting step toward making these treasures more accessible to a wider audience."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"h6vMJjiW3D","type":"header","data":{"text":"A Rich Collection of Ukrainian Art","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"759Ludx3-D","type":"paragraph","data":{"text":"The collection focuses on over 150 works of painting and graphics by renowned Ukrainian artists. Featured creators include Jacques Hnizdovsky, Vasyl Nepyipyvo, Viktor Zaretskyi, Yuriy Zlyden, Mykola Maksymenko, Vitold Monastyrsky, Tetiana Yablonska, Vasyl Lopata, and many others. Each piece tells a unique story of Ukrainian culture, history, and artistic evolution, offering viewers a window into the country’s creative legacy."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"Kr1Do33ILs","type":"header","data":{"text":"The Digitization Process: Preserving Every Detail","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"4ai9H97qne","type":"paragraph","data":{"text":"To ensure every brushstroke and texture is captured with forensic accuracy, UFDA Studio Head Yevgen Nikiforov traveled to Borshchiv to oversee the process using our proprietary Digital Light Capture Technology (DLCT)."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"CxJrqhrqG5","type":"paragraph","data":{"text":"UFDA leverages this advanced technology to create high-quality digital counterparts of significant cultural works. Each artwork is captured at an exceptional resolution of 400 MPX, digitized, and securely recorded on the blockchain. Every digital counterpart exists as only one, unique example, ensuring both authenticity and exclusivity."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"bNCXnbKSDr","type":"header","data":{"text":"Bridging Local Heritage and Global Audiences","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"zS8fO3dVhn","type":"paragraph","data":{"text":"UFDA is proud to contribute to digitization efforts, as these works will enrich the online archive and serve as a lasting resource for the public. The partnership exemplifies how technology can bridge the gap between local heritage and global audiences."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"0-b5tPINfQ","type":"paragraph","data":{"text":"“Thanks to our collaboration with UFDA, we are beginning to promote our art collection in digital format and make it accessible to a wide audience,” the museum stated. "},"tunes":{"alignment":{"alignment":"left"}}},{"id":"4azmyRINUC","type":"header","data":{"text":"Bringing Museum Collections to the World","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"pEqeTYUDCx","type":"paragraph","data":{"text":"UFDA is inviting museums and cultural institutions to join our mission of digital preservation. By digitizing your collections in ultra-high resolution, your institution can transcend physical walls, safeguard treasures against the passage of time, and showcase Ukraine’s cultural legacy to a global audience."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"YULW9WABGz","type":"paragraph","data":{"text":"Reach out to us via our Contact Form to explore how we can help. \n\n"},"tunes":{"alignment":{"alignment":"left"}}}],"version":"2.29.1"},"custom_publication_date":"2026-01-28T15:18:00.000Z","cover":{"id":"4d532b01-a24d-4b02-8636-bee7004686c2","width":1500,"height":891,"title":"Ищкір","filename_disk":"4d532b01-a24d-4b02-8636-bee7004686c2.jpg","filesize":"1036672","asset_transformations":[{"preset_key":"default-500w-webp","transformation_name":"4d532b01-a24d-4b02-8636-bee7004686c2__02750e80ab4ec309590acf92c80303648833b198.webp"},{"preset_key":"default","transformation_name":"4d532b01-a24d-4b02-8636-bee7004686c2__b863a8edcf60bd681133854e185f1fcc14d367ca.jpeg"},{"preset_key":"default-1000w-webp","transformation_name":"4d532b01-a24d-4b02-8636-bee7004686c2__8f5e1bcc170dd9bf2d06c14e73b3916a656ad84d.webp"},{"preset_key":"default-1900w-webp","transformation_name":"4d532b01-a24d-4b02-8636-bee7004686c2__6fce4f849f3c156c231d7d02d254af88664291e2.webp"},{"preset_key":"default-1500w-webp","transformation_name":"4d532b01-a24d-4b02-8636-bee7004686c2__1d37bb2356752167aa4e7fa55400bb2b1a0b2cfa.webp"},{"preset_key":"default-500w-jpeg","transformation_name":"4d532b01-a24d-4b02-8636-bee7004686c2__d0aa7bbea0674bd74b7f806ff67f8e54e7614f01.jpeg"},{"preset_key":"default-1000w-jpeg","transformation_name":"4d532b01-a24d-4b02-8636-bee7004686c2__c58162563a40f0636bb0cd6ac38fadf18ea139b4.jpeg"},{"preset_key":"default-1500w-jpeg","transformation_name":"4d532b01-a24d-4b02-8636-bee7004686c2__d2f9b7e16ffeb50c2d2af682b8cce4c2f41a2f70.jpeg"}]},"short_description":{"time":1769587916836,"blocks":[{"id":"C49o-2SCi1","type":"paragraph","data":{"text":"UFDA is proud to announce its partnership with the Borshchiv Regional Municipal Museum of Local History to digitize a significant portion of the museum’s collection."}}],"version":"2.29.1"},"publication_target":"UFDA","date_created":"2026-01-27T14:20:43.065Z","date_updated":"2026-01-28T13:18:51.812Z","author":{"id":2,"first_name":"Anna","last_name":"Cherevko","avatar":{"id":"92bdcd95-c228-44ad-913f-b160994dd188","width":960,"height":1280,"title":"Photo 2025 03 04 09 25 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Years of Pavlo Bedzir: The Inner Form of Time, Thought, and Art","content":{"time":1769523597038,"blocks":[{"id":"lirhJgLZbu","type":"paragraph","data":{"text":"This year marks the centenary of Pavlo Bedzir’s birth—an occasion to reflect not only on his artistic journey, but also on the man himself, the mentor, and the quiet yet profound influence he had on those around him."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"iR--dwZiLZ","type":"paragraph","data":{"text":"Pavlo Bedzir (1926–2002) was an outstanding Ukrainian artist and philosopher whose work continues to resonate far beyond the borders of Zakarpattia and Ukraine. He was more than a painter or graphic artist; Bedzir was a thinker who transformed visual form into a philosophical language, using art to explore the structure of the universe, the nature of being, and humanity’s inner path."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"v65je4ZSDD","type":"paragraph","data":{"text":"To mark this anniversary, we look not only to his life and creative legacy, but also to living memory. We spoke with Pavlo Kovach, one of those shaped by Bedzir’s presence and ideas. His reflections will accompany our exploration of Bedzir’s life, work, and lasting influence."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"WfCqE5bFFS","type":"image","data":{"caption":"Life of Trees 4 by Pavlo Bedzir. 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His early childhood unfolded within a landscape of forests and mountains—an environment that would later become central to his artistic symbolism. Until the age of ten, he lived in Kalyny, after which his family moved in 1936 to Svoboda (today Badov, part of the village of Danylivka)."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"iGkI6ZWZuh","type":"paragraph","data":{"text":"In 1944, Bedzir graduated from the Mukachevo Urban School and continued his education at the Mukachevo Trade Academy. It was during this period that his interests in yoga, philosophy, and visual art began to take shape. He studied drawing and painting in the workshop of Vilmosh Berec, where he gained a foundation in technical discipline while beginning to look beyond purely academic approaches."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"TtxLZmRg2U","type":"paragraph","data":{"text":"In 1946, Bedzir entered the Uzhhorod Art and Professional School, studying under influential teachers such as Fedir Manailo and Ernest Kontratovych. These years were formative, situating him within the Zakarpattian art school while encouraging a broader engagement with European and global artistic movements."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"qFCUg856BX","type":"quote","data":{"text":"My first visit to Pavlo Bedzir took place in 1978, at his home, which also served as his studio. At the time, I was a third-year student. From then until 2002, we were friends and colleagues. In the beginning, I studied graphic art, painting, philosophy, and yoga. Bedzir never said that I was his student, but I was constantly learning from him—and I continue to learn even today.","caption":" Pavlo Kovach","alignment":"left"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"hk5C-vE-wr","type":"header","data":{"text":"War, Return, and a Shared Creative World","level":3},"tunes":{"alignment":{"alignment":"left"}}},{"id":"o-C2jckuSH","type":"paragraph","data":{"text":"From 1947 to 1950, Pavlo Bedzir served in the army. After demobilization, he returned to Uzhhorod, where his personal and creative life soon found stability. On June 19, 1952, he married Yelyzaveta Kremnytska, who would become not only his life partner but also a key presence in his artistic world."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"FZ7nRjqDcN","type":"paragraph","data":{"text":"In 1954, Bedzir began working in the workshops of the Art Fund, where his wife was also employed. This space evolved into a vibrant creative hub. Together with friends and fellow artists, they experimented, painted from life, debated ideas, and shared discoveries. Among those close to this circle was the artist Ferenc Seman."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"_3T56HXKtH","type":"image","data":{"caption":"Life of Trees 3 by Pavlo Bedzir. 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Bedzir taught less through instruction and more through example, encouraging careful observation and deep inner attention."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"ykFkIPrFgV","type":"quote","data":{"text":"I don’t know of any students of Bedzir, yet they always seem to appear from somewhere! Pavlo did not teach or mentor anyone directly, but in every possible way, he created conditions for the development of individuality.","caption":"Pavlo Kovach","alignment":"left"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"7ZmOmyPhyd","type":"header","data":{"text":"The Tree as Philosophy","level":3},"tunes":{"alignment":{"alignment":"left"}}},{"id":"tG8bSZgrIJ","type":"paragraph","data":{"text":"Throughout his life, Pavlo Bedzir explored nearly all major stages of global avant-garde movements—from Impressionism and Expressionism to Cézannism, Cubism, and Op Art. Yet his work never followed trends for their own sake. Each stylistic phase became a tool for deeper inquiry."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"asvBQXEIQj","type":"paragraph","data":{"text":"At the center of his artistic thinking stood one enduring image: the tree."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"LCl_c0t9IC","type":"paragraph","data":{"text":"Reflecting on Op Art, he remarked that he no longer looked at the trunk or branches, but at the voids between them—spaces that carry as much meaning as form itself."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"PxapZ43RKP","type":"paragraph","data":{"text":"Even when depicting the human figure, Bedzir avoided naturalistic description. Instead, he focused on internal structure, rhythm, and constructive logic, treating the body as a system governed by universal principles."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"9YtKWIGLHg","type":"quote","data":{"text":"Pavlo Bedzir was a person of the Universe, and as such he absorbed everything that was close to him in spirit. The third millennium was his Faith, his Hope, and his Love.","caption":"Pavlo Kovach","alignment":"left"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"NYOF1AsXd2","type":"header","data":{"text":"“From the Life of Trees” and the Graphic Legacy","level":3},"tunes":{"alignment":{"alignment":"left"}}},{"id":"_i-m3tOMKD","type":"paragraph","data":{"text":"Bedzir’s most renowned body of work, the series “From the Life of Trees,” stands as a cornerstone of Ukrainian graphic art. Created mainly between the 1970s and 1980s, works such as Life of Trees 1, Life of Trees 3, Life of Trees 4, and Life of Trees 6 reflect a lifelong meditation on growth, time, and existence."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"phSvjbFuo4","type":"paragraph","data":{"text":"Other notable works include Composition 1, Mountain View, Studies 1 and Studies 2, A Forest, and the Op-Art. Pocket-Sized Format series. Across these pieces, Bedzir combined precision with contemplation, transforming simple natural motifs into complex philosophical structures."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"s-S_eI-EU9","type":"quote","data":{"text":"One of his sayings was: \"Burn everything that is yours — old and familiar — and light your own path into the future.\"","caption":"Pavlo Kovach","alignment":"left"},"tunes":{"alignment":{"alignment":"left"}}},{"id":"IGbH9wvcVj","type":"image","data":{"caption":"Life of Trees 1 by Pavlo Bedzir. 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Yet a century after his birth, his presence remains vivid—within his works, within the memories of those who learned from him, and within the ongoing dialogue between art and philosophy that he so rigorously pursued."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"Av73l4gRcc","type":"paragraph","data":{"text":"As we celebrate 100 years of Pavlo Bedzir, we honor not only an artist of extraordinary depth, but a thinker who showed that art can be a discipline of consciousness—a way of seeing the world, and oneself, more 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She describes a life in constant motion, a nomadic routine shaped by lectures, exhibitions, and community projects in two cities that now sit close to the front line — and yet feel unusually alive culturally."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"Z22m7Y_w2w","type":"header","data":{"text":"From the television studio to the exhibition hall","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"GW6NHeWDSM","type":"paragraph","data":{"text":"For more than twenty years, Liona’s professional world was television: scripts, filming days, studio lights, news cycles. Over time, the format began to feel too narrow for the kind of conversations she wanted to have about art and society. Step by step, she moved from talking about culture on screen to creating cultural events herself — first small projects, then full-scale exhibitions and long-term initiatives."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"-_NnFoS159","type":"paragraph","data":{"text":"Her early curatorial work grew out of local realities: ecology, industrial landscapes, public space in Zaporizhzhia. Instead of simply covering events, she started inviting artists, organising shows, and testing how art could open up difficult topics for local communities. 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Liona speaks about an inner filter that is not about silencing herself, but about choosing words carefully in front of people who may have just lost someone, or who live under constant threat. She reflects on the language of communication, on complex figures from the past, and on how to speak honestly without pushing the audience away. For her, this is part of curating — not an add-on to it."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"2YArrI6QWV","type":"header","data":{"text":"Between education and “cultural front”","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"9ZFEuPdI0X","type":"paragraph","data":{"text":"Alongside exhibitions, Liona spends a lot of time preparing lectures and public talks that introduce contemporary art to audiences outside of Kyiv. These are often people encountering certain artists or ideas for the first time, in cities that rarely used to be in the spotlight of the art world. She sees these meetings as a way to give people both tools and language for what they are experiencing."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"ykl8T7U7ex","type":"paragraph","data":{"text":"At the same time, she is cautious about the popular metaphor of the “cultural front”. Liona insists on distinguishing between those who literally fight with weapons and those who work with meanings and images. Culture can support, document, and give shape to collective experience — but it does so in a different register, and precision in how it is described is a form of respect for those at the actual front."},"tunes":{"alignment":{"alignment":"left"}}},{"id":"_xJeRf1iGs","type":"header","data":{"text":"A chorus instead of a monologue","level":2},"tunes":{"alignment":{"alignment":"left"}}},{"id":"-96KLllKLO","type":"paragraph","data":{"text":"When Liona talks about Ukrainian art today, she often returns to the image of a chorus. 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